The Warner sun. (Warner, Brown Co., Dakota [S.D.]) 1885-1???, 1887-04-22
THE NEW CRAZE.

gestions for the Amateur Clay
ModeIer.
Modelling in clay is popularity suppos-
ed to belong exclusively t" the sculp-
tors art. But this is a mistaken notion.
The best teachers recommend model
inc, especially in bas-relIef, as an inn
portant aid in the development of the
faculty of drawing. Bas relief is the
simplest torm of modelling, as drawing
is the primary step in the painters
art. 1t will also be found Of invalu-
able assistance in wOod-engraVing,
wood-carving, and kindred arts. And
the employment is withal so fascinat-
ing and productive of such pleasing re-
suits at Il small outlay of money and
labor that the amateur will find in it
alone an ample compensation, leaving
out the possibility of the knowledge
gained being turned to account in other
work.
The clay is easily procured at any
potter's, and should be finely ground
and free from hard Jumps. To asc9r-
tain whether this be the case it may be
cut through and through with a wire
(modelers usually have a wire fitted
with handles for the purpose). 1t
should then be thoroughly beaten and
worked until it shall have become
tough and somewhat elastic and shall
have lost that property denominated as
short" The tools used need not be
many or costly, although the ~"sets''
that are offered for the purpose are APP
palling in number and p~erplexing to
the beginner. Two or three simple
wooden or bone blades and q few scrap
ers with saw shaped edges are quite
enough, but the fingers. together with
tools shaped with a convenient jack
knife, will be used more than any
other implement. The shapes Of the
tools required will suggest themselves
during the progress of the work.
A large slate or marble slab is a good
thing to work On, although a board
may be utilized for the purpose if
the slate or marble be not at hand. A
plaster cast of an animals head is a
good first study, and will not be too
difficult if the worker has had any
practice in drawing. Spread the clay
to the requisite thickness on the slab,
pressing it firmly so that there will be
no bubbles in it, and take care that it
be perfectly level and of uniform thick
ness. Then with the fingers form the
object, measuring the points with
compasses and scraping the clay away
to initiate the contour, lines. and hol-
lows of the original. In this part of
the work the eye must be rel ed on,
hut it is very easily accomplished, pro-
vided there be not too much haste, and
the clay be scraped away very gradual.
ly. The eyes, ears, nose, ETC., are
then formed in the same way, using
such shaped tools as seem suitable.
After the outline shall have been finish
ed the details may be worked up, using
a tool with a serrated edge for simu-
lating the hair, just as the rasp is used
in wood-carving. Smooth-haired ami
mails, such as the squirrel. cat or rab-
bit, are easier to represent than those
which have long, shaggy hair. which
requires deep scraping to form the
mass. The ground may be indented as
in w~ood-carving. using similar tools.
The work must, of course, dry slowly
to prevent cracking, and it may be
advisable to cover it with a damp cloth
to prevent too rapid drying. It may
then be baked, if desired. and will be
practically understandable.
After some practice on work of this
kind, in higher or lower relief, the
pupil may undertake foliage. although
it is not essential to the study of mod
cling figures, and is really q very
d .ficult branch of art--much more
difficult than the lower forms OF animal
life. Copy from cast or carved leaves
at first, gradually proceeding to draw
ings. Beware Of making the leaves too
thin There Is, to me, an incongruity
in copying any thing that can not be
us nearly as possible. and with
Il is impossible to simulate the
thinness and transparency OF flowers
and foliage, So would recommend go
ing at once 'front.' the study Of animal to
life. Begin in this branch with
the hand Or foot. Proceed deliberately,
and measure accurately with rule and